Single Reviews – Demi Lovato & Disclosure

If you are the type who can’t live without music, and are on the prowl looking for singles to tune into this week, why not check out our reviews on the following singles then!

Disclosure – Omen ft. Sam Smith

Jethro: Hoping to replicate their success with their previous single Latch, Disclosure have released a new single featuring Sam Smith. With a smoother tone than Latch and Sam Smith on top form they have definitely created the sexier song here. Smooth tones and brilliant vocals combine to create a great effort from Disclosure and Smith, one that deserves to be listened to by their fans.

Jethro: Demi Lovato’s tries to be the latest summer hit but just falls short. In trying to go for more mainstream tone than songs like Nightingale, Lovato has created a track that is alright to listen to but pretty much like everything else out there at the moment. It has nothing to differentiate it from all the other summer themed tracks and is not one of her best efforts. Worth a listen though if you’re a fan.

Darren: This isn’t the vulnerable Demi Lovato twirling in anguish through the salt flats of Utah (Skyscraper, 2011). Nor is this the emotionally charged, distressed Demi Lovato in Heart Attack (2013), who sang a catchy song with powerful vocals. If those songs constituted a roadmap of her development from Disney Channel child actor to pop star, then perhaps Coolfor the Summer (2015) is a natural progression for her career.

Lovato masks her vocal range by replacing the emotive texture of her previous songs with an attempt at sultry overtones, coupled with a repetitive synthesizer beat that makes it sound like every other summer pop song. Its lyrics are uninteresting and sexually suggestive to a fault, with flat attempts at wit in such lines as “Got my mind on your body and your body on my mind”. This line is followed by and culminates in the lines “Got a taste for the cherry / I just need to take a bite”, marking the bi-curious innuendo that has been employed previously by some mainstream female pop stars. It is unsurprising that this has impressed few, leading to several accusations of her queer baiting, the offensive practice of using homoerotically charged language to garner the pink dollar.

To Lovato’s benefit, the trajectory of her musical career is probably mostly a function of current fads in pop music, with sexually provocative imagery characterising the zenith of a career in the industry. Perhaps she will prove us wrong. Perhaps she will continue furthering her eclectic oeuvre that has been somewhat compelling in its textural complexity. But until then, I am tempted to think otherwise.

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